The Congiardo Family

Musicians & Music Educators

As Read by Ronnie Brooks, McNairy County MayorJune 13, 2014

In West Tennessee, the name “Congiardo” is synonymous with quality band programs. Whether it’s at Selmer High School, Adamsville Jr./Sr. High School, McNairy Central, Madison Academic, or a host of other schools where their influence has been felt, the Congiardo family has established a reputation for building and sustaining the highest level of music education programs available anywhere. Indeed, they are legendary for it and that is no overstatement. Significant as it is, that is only part of their story. Congiardos spanning at least four generations have been part of the fabric of the local music scene for as long as anyone can remember. To some, they are known only by reputation but here in McNairy County the Congiardo family’s roots are deep and they are regarded as dear friends, neighbors, and of course, musical mentors. The local lives they have touched through music and friendship must literally number deep into the thousands by now. Again no exaggeration needed, that’s just the plain truth of it. Frank Jr., Dominic, Frankie and Michael Congiardo—two generations, two sets of brothers bearing the same name—have made an indelible mark on the culture of McNairy County with their gift of music. This is no secret to anyone, but what some may not realize is that the family’s musical odyssey begins a generation earlier with another Frank.

Frank Congiardo Senior was born into household filled with music in Illinois but would later relocate to Ramer, TN. Everybody in the Congiardo family played something. By the time he was five years old Frank Senior was playing mandolin in a family band with his father and brothers who had obviously encouraged his interest in music at a very early age. As the young man’s musical interests grew and changed he picked up and became skilled at a variety of other instruments including fiddle, bass fiddle and guitar. He would retain an interest in mandolin throughout his life but regarded guitar as his primary instrument and established a reputation as one of the best players around. In addition to his interest in a variety of instruments, Frank Senior had wide ranging taste in music and could play virtually any style. It was more than a pastime, he took it more seriously than any of his forbearers, fronting big bands, jazz combos, country, old time, and pop groups, and—with a nod to tomorrows proceedings—even a rockabilly band or two. The various outfits played most every weekend at every conceivable kind of gig from house parties to music clubs and everything in between. But perhaps his most proud musical achievement—and certainly the one we are most grateful for—was in passing his love of music on to the next generation. Just as his father had done, Frank Senior encouraged his family to play music at every available opportunity. And boy would the next generation of Congiardos ever catch the music fever.

Frank Congiardo Junior learned to play piano from his mother at the age of 5 and by 14 was already playing saxophone in his father’s bands around the area. A gifted multi-instrumentalist, he would continue to play music throughout his life in a variety of settings including community bands in McNairy, Alcorn and Madison counties where he often had the opportunity to play with his brother and sons—more on them later. It was often observed that Frank Jr. could have played professionally had he so desired and he was certainly a shrewd enough judge of musical talent to have known that, but as a young man he discovered a second passion which would extend his influence even farther than a career in the music industry. Not only could he play, Frank Jr. had a gift for teaching music which he would exercise throughout a long career as a band director first at Selmer High School and later at McNairy Central and Adamsville. The thousands of kids who came through Frank’s McNairy County bands learned more than music. They learned, discipline, perseverance, teamwork, commitment, and leadership. They learned to love music and more importantly to respect the qualities it takes to become a good musician. These lessons would serve them well in life no matter what career path they chose, but especially if they became musicians or educators. The number of students, including Frank’s two sons, who followed his example to become music educators, is nothing short of phenomenal. Countless kids, who may not even know his name, owe a quality music education to Frank Congiardo Junior.

One student who certainly knew his name was younger brother Dominic who entered the 5th grade at Selmer Junior High School as a band student. The band director was none other than Frank Jr. Dominic had followed in his older brother’s footsteps, first learning to play piano at home, playing in the various bands with family members, eventually picking up the saxophone as his primary instrument. Where Frank had chosen music education as a career path, Dominic moved to Memphis at age 19 to pursue a career as a professional musician. There he added flute to the list of instruments he could play at the professional level and was soon in demand as a club, studio and touring musician. Dominic enjoyed a long career playing, recording and touring with the likes of the Allman Brothers Band, the Doobie Brothers, and Hank William’s Jr. with whom he earned a Gold Record. His touring and recording days put him in the circle of music industry elites and he numbered among his friends and contacts, the members of Lynyrd Skynyrd Band, Jefferson Airplane and even Cher. Not too shabby for a McNairy County boy. Never one to brag or name drop, these facts had to be coaxed out of Dominic, who remained the consummate yet humble music professional throughout his career.

The next generation of Congiardo’s would be no less impressive. Frank Juniors two sons, Frank III and Michael Todd (or just plain Mike to most of us) continued the legacy of excellence in music education. Mike began playing saxophone in the 5th grade with another family connection as a mentor. Greg Stover was the band director at Selmer Junior High and would in time become Mike’s uncle. Like the generations before him Mike demonstrated a keen interest and an ear for music at an early age and developed under the watchful eyes of Greg and Frank Junior who became his band director in High School. A gifted performer in his own right, Mike earned an undergraduate degree in Music Education and a Masters in Music Performance with a concentration on Saxophone, of course. These prepared him to follow in the footsteps of his father, brother and uncle to become a well known and respected band director at Gibson County High School and Madison Academic Magnet School. His programs which included marching, jazz and symphonic bands consistently earned superior ratings in performance at state concert festivals and in the case of Gibson County a Division II State Championship title. One of his former students summed his career up pretty well when he said, “Mr. C was a well respected band director, saxophone player, mentor, motivator, counselor, and developer of musical talent, but most of all, Mr. C was a friend.” Mike’s career was cut short just earlier this year but there is no doubt that he lives on in the lives and music of all the students he touched in an unparalleled career as a music educator and yes, a fantastic friend.

That brings us finally to Mike’s older brother Frankie. Samuel Frank Congiardo has just announced his retirement after 29 years as the band director at Adamsville Jr./Sr. High School. What a ride it has been. By what has already been observed everyone here will know that, by virtue of his genetics, Frankie is a supremely talented musician—he’s arguably the best percussionist the county has ever produced—so let’s cut right to the chase. In his tenure as director of the Adamsville band, the program has eared 8 Division I State Championship titles, never finishing lower than 2nd place in the last ten years. This makes Frankie, hands down, the most highly decorated band director in McNairy County history and indeed one of the most successful music educators the state of Tennessee has ever known by anyone’s standard. The legacy of excellence and dedication he leaves behind is more than remarkable and it extends well beyond the world of music. Rarely, in any field, has anyone so distinguished themselves and brought such positive attention to their school, town and county. To borrow an old local phrase, Adamsville has “the biggest little band in Tennessee.” Perhaps Adamsville city administrator Steve Simon said it best when presenting Frankie with the 2012 MRA professional achievement award, “If a football coach had won 8 State titles,” he said, “they would have built a monument to him on the courthouse lawn.” Well observed. And yet, Frankie still persists in giving credit to his family and others who mentored him in music. “I am very fortunate to have been influenced by my family members throughout my career,” he said. “No new director entering the field could have had more outstanding mentors. Glen Gately, Dwight Porter, Nancy Matheson, Donald Anthony and, of course my father, Frank Congiardo Junior and uncle Greg Stover inspired me to find my place in the world of music. No one could have had a better musical life, career, and experience than I have had.” I think we can all agree on that.

In preparing the remarks for this induction, a common theme emerged from the lives of each man mentioned: just how much they all loved to play music with their family and friends. In various combinations and at various times, one generation mentored and inspired the next to become the best musicians and best people they could be. Proud moments were shared, like Frank Senior having the opportunity to hear his sons and grandsons play together for the first time; Frank Junior getting to play with both his sons in the Jackson area Community Jazz Band; and Frankie making music with his father, children, and several former students in the Arts in McNairy Community Band. This commitment to share and pass music along through their family came quite naturally to them but it is perhaps the single most important factor which causes us to recognize them here tonight. You see, even though we speak of their accomplishments in historic terms, we understand that this is a living legacy which is far from complete. Frankie’s children Zach and Darby continue the legacy of musical excellence in their generation and who knows where their musical journey will lead? Similarly, countless students who have been inspired and encouraged by the Congiardos are making music and passing it on, somewhere, even as we speaking. It is truly hard to overstate the positive impact this one family has made—and continues to make—on the musical heritage of our county, state and yes, even our world.

It is with gratitude and great pride I induct the Congiardo Family into the McNairy County Music Hall of Fame.

Stephen Foster Music Club

Music Appreciation Organization

Stephen Foster

As read by Sandy Carroll, Hall of Fame InducteeJune 13, 2014

Stephen Collins Foster has sometimes been called “The Father of American Music” for good reason. He was the “it” songwriter of the 19th Century.

If I say: “Oh! Susanna, don’t you cry for me. I come from Alabama…”There’s not a soul in the room who can’t finish that lyric:“…with a banjo on my knee.”

Foster’s songs are as much a part of the American consciousness as the National Anthem or the Pledge of Allegiance. His particular gift was in merging various streams of American music into a new composition which paid homage to the original tradition while simultaneously igniting the popular imagination. “Camptown Races,” “Old Folks at Home,” “Beautiful Dreamer,” “Jeanie with the Light Brown Hair,” and “My Old Kentucky Home,” among other compositions, are some of the best known and most beloved in the American song book. Stephen Foster was truly an American original.

So, when a group of ladies began to think about how they could increase the appreciation of music in McNairy County, the name Stephen Foster naturally came to mind as someone who embodied the traditions of American musical crosspollination and inclusiveness. On November 15, 1938 the Stephen Foster Music Club was formed in Selmer with 13 charter members, all of them committed to providing opportunities for local people to experience the benefits of a life filled with quality music. The club is currently in its 75th year of continuous operation, making it the second oldest affiliate of the National Federation of Music Clubs in the state of Tennessee—quite a feat considering that the vast majority of Tennessee’s federated music clubs are found in urban areas with larger populations, better financial resources, and stronger historic commitments to cultural affairs. Stephen Foster is, in fact, one of only three senior affiliates in the Tennessee Federation of Music Clubs still operating in rural Tennessee.

Longevity is all well and good but cultural organizations are measured by community impact and that is sometimes hard to quantify. Not so, in the case of Stephen Foster Music Club. For more than 50 years, the club offered the only consistent cultural programming in McNairy County. Other small groups came and went, but Stephen Foster kept right on plugging, offering monthly music appreciation programs and, of course, music of every conceivable variety to a grateful community. Members and guest lecturers presented educational programs on various facets of music history, technique, theory, and other wide—ranging topics of interest to music lovers. The club showcased the area’s best musicians providing a rare local outlet for many of them to share their talents and hosted performances by musicians with national and international reputations right here in McNairy County. They seemed to subscribe to Louis Armstrong’s theory that there are really only two kinds of music: good and bad. Stephen Foster Music Club was dedicated to promoting the good, and promote it they did. Everything from sacred music to jazz, classical to old time, instrumental to vocal, popular music to obscure melodies could be heard at a club meeting or public event. As with their namesake, no music was out of bounds, as long as it was good.

As strong as it is, programming is only one indicator of an organization’s health. Community investment is another way to measure success for cultural groups like Stephen Foster. By this standard, the club has every reason to be proud. Club dues and other funds raised by Stephen Foster members have long been used to support music education in local schools. The club has, at one time or another purchased, band instruments, sheet music, stage curtains, elementary music programs, music software for computers, and even a pianos, to name just a few items, for the McNairy County schools. These supplies were essential to supplement the meager budgets that have always plagued arts programs in public schools. Needless to say, generations of McNairy County students have benefitted from the clubs generous support of music education. Similarly, Stephen Foster has purchased and donated dozens of music books, biographies of composers and musicians, and music related reference materials to our public libraries.

From the outset, the club demonstrated a cooperative spirit in partnering with other civic groups or organizations who shared similar cultural development goals. They purchased, refurbished, and donated the grand piano belonging to the old Selmer High School when the building was restored by the city as a community center. More recently they have partnered with Arts in McNairy to continue expanding their outreach into the community and now have their programs and meetings in this very building as well as supporting AiM’s existing music programs through dedicated volunteerism. If you are greeted warmly, enthusiastically handed a program, and get your ticket efficiently and cheerfully stubbed at an AiM event, odds are you just met a Stephen Foster member.

But perhaps the most telling thing about Stephen Foster Music Club—what really makes them tick—is their concern and thoughtful investment in the future of the arts—in this case music. Since 1967, the club has given away thousands of dollars in scholarships to local music students. In some cases, these funds helped deserving young people over the financial hump, allowing them to attend college when it might not have been possible otherwise. These scholarships have always been given to promising young musicians with a track record of hard work and academic excellence, revealing a sly bit of wisdom in the selection criteria. Picking bright and committed young musicians was the best way to ensure that the investment paid off in the lives of the recipients while strengthening the music community in general. Though studying music at the post secondary level has never been a requirement for the scholarships, it has always been encouraged. Consequently many of the scholarship recipients have gone on to become noted musicians and music educators including two of the tonight’s presenters (Sandy Carroll and Mayor Ronnie Brooks) while countless others have retained a life long love of music thanks, in part, to Stephen Foster Music Club.

In summing up the accomplishments of this outstanding cultural group, it is perhaps best to simply recite the club collect by Mrs. Ruth Holler Ottway. The composition appears in the earliest Stephen Foster year books and gives voice to the motivation behind the club’s activities which span three quarters of a century.

"We praise and thank Thee, Father for the gift of music. Through us, as channels of thy grace, may this blessed legacy be shared with all mankind. Grant that we exemplify in our lives the harmony of Thy great purpose for us. Grant us the magnitude of soul and such understanding hearts that we, who make music, may be as players upon rightly tuned instruments, responding to Thy leading. Let us with renewed consecration, dedicate ourselves to the purpose of our Federation to bring the spiritualizing force of music to the inner life of our nation. Open our minds that Divine wisdom and knowledge may teach us how to execute this, our pledge."

Amen! What fitting words these are for an occasion such as this. It is with great honor that I induct the Stephen Foster Music Club into the McNairy County Music Hall of Fame in the class of 2014.

Elvis Black

Old-Time Fiddle Legend

As read by Shawn Pitts, Arts in McNairy FounderJune 13, 2014

There are very few people who are instantly recognizable by just their first name—Elvis for example. Not that Elvis. Before the King of Rock-n-Roll was even born, there was another Elvis who blazed a musical trail right here in McNairy County. His career as an amateur musician never brought him the fame and fortune that came to the Elvis Presleys of the world, but his life and influence on generations of young fiddlers would become the stuff of local legend and extend well beyond the county line. I am, of course, referring to the inimitable Elvis Black.

Elvis was born to a Robert Monroe and Linda Jane Black near the Leapwood community of eastern McNairy County in 1903. Tragedy visited the Black household early in his life when a freak accident deprived the young Elvis of his sight. With limited travel options and medical treatment days away, the family cleaned and bandaged his wounds as well as they could and hoped for the best. It was all they could do. Elvis would emerge from the accident totally blind in both eyes. He was little more than a toddler at the time.

It was soon apparent that what he lacked in sight, Elvis made up for in hearing. Shortly after the accident, he began to scratch out tunes by ear on the old family fiddle which belonged to his father and grandfather before him. As it so often seems to do, musical talent ran in the Black family. We have them to thank for recognizing and encouraging the young Elvis to pursue music, first by teaching them all they could, and later by taking up a collection to send him away for formal violin lessons. Elvis remained in music conservatory for only one session. He preferred to learn from the abundance of country fiddlers back home in McNairy County. There is a favorite story about this chapter of his life which illustrates something about Elvis’ talent as well as his sense of humor. Not long after returning home from his short lived experience with music education, someone asked him why he didn’t stay longer. Elvis reportedly replied, “I learned all they had to teach me in just a few days and after that they wouldn’t listen to me.”

He probably wasn’t exaggerating about being a quick study and the second part of that statement says something important about why he has been nominated for induction into the McNairy County Music Hall of Fame. That lifelong penchant for picking up techniques and subtle nuances in music by ear and passing them along to other musicians made Elvis Black one of the most influential local fiddlers of the twentieth century. He spent countless hours listening, learning, and tutoring the next generation of fiddlers who virtually beat a path to his Leapwood home for an opportunity to play with the master. The list of musicians who site Elvis as a primary influence reads like a who’s who list of the best musicians from the region. His finger prints are everywhere on the local music tradition. Ernest Whitten and Arnold English—both Hall of Famers in their own right—never failed to give credit to Black as a mentor and friend. He welcomed to opportunity to play with these fine young fiddlers and they loved him for it. Wayne Jerrolds and another legendary member of Bill Monroe’s Bluegrass Boys, Merle “Red” Taylor were similarly influenced by Black’s fiddle style. Wayne vividly recalls making the regular pilgrimage to Leapwood as a young man to sit at Black’s feet. It is not stretching the point to say that through these nationally recognized artists and many others who revered him, Elvis Black’s subtle influence extends to the Grand Ole Opry stage, Nashville recording industry, and far beyond.

As broad as that influence might have been, it was here at home in McNairy County where Black was most comfortable and spent the best days of his life fiddling for friends, family, and neighbors at the home musicals. Stories abound—some of which probably shouldn’t be repeated—about the fun-loving and charismatic Black’s antics and performances all around the region. One room school houses, barns, country picnics, and the homes of family and friends were where Elvis Black firmly established his musical reputation and that is where he loved to play most. They were his Opry stage. It was through these intimate venues that Elvis found his most loyal following and he is undoubtedly one of the most respected and beloved musicians McNairy County has yet produced. As a decorated contest fiddler he was known to hitch a ride with however was heading out to a nearby contest—any contest. Most people were happy to oblige, but his fellow fiddlers were sometimes reluctant since giving Elvis a lift typically meant conceding the contest before you even arrived. At his prime—which was most of his life—he was hard to beat in a head to head fiddle competition.

I had the privileged of doing a presentation on the rich musical heritage of McNairy County for the Tennessee Folklore Society two years ago. In my remarks I mentioned the profound influence Elvis’ music had on a number of local fiddlers. To demonstrate, I played a short snippet of him performing “Pig Ankle Strut” from the Littlejohn recordings. We would here be remiss if we didn’t mention that Stanton Littlejohn was fittingly inducted into Hall of Fame class of 2013 for his outstanding contributions to our shared musical heritage. “Pig Ankle Strut” was just one among many Littlejohn sound clips, I used on that occasion but afterwards Elvis Black was almost all that crowd wanted to talk about. One of Tennessee’s most respected traditional music historians was completely enthralled. He couldn’t get to me fast enough after the presentation was over. What else did I know about Elvis Black? Did he make other recordings? Was he trained? Did he have professional aspirations?—he was certainly good enough. Was “Pig Ankle” a regular part of his repertoire? Where did he learn the tune? The questions went on and on. It was both the obscurity of the tune and Elvis’ outstanding performance of it that piqued his interest. He also made the intriguing comment that Elvis had what he considered a “classical touch and timing”—perhaps he learned more at the conservatory than he let on. Just a short sound clip was enough to let some of Tennessee’s most astute traditional musical observers know that Elvis Black possessed a talent rarely heard in a state known for the depths of its musical heritage. He was truly a fiddler among fiddlers. Not many will argue that point.

Whether his talent was heightened by the loss of sight—as some have suggested—or pure native ability is a matter of conjecture, but what remains clear is that Elvis Black possessed a formidable gift for music that was recognized by his peers and continues to impress new audiences even today through those precious remnants of his music preserved in the Littlejohn archive. Elvis passed away in November 1964 at the age of 62, the victim of a tragic house fire. But the flames that engulfed his home that fall day could not burn away the incredible musical legacy he left behind. Certainly, he is alive in the memories of his family and all those who knew him but it is in the vibrancy of the local music tradition that his spirit has been most keenly felt all these years. Elvis Black’s music lives on through the generations of musicians he inspired and in turn all those they continue to mentor and inspire. As long as there is a living music tradition in McNairy County, Elvis Black will remain among us.

It is my distinct honor to admit Mr. Elvis Black to the McNairy County Music Hall of Fame in the class of 2014. We welcome members of the Black family this evening to receive this honor on his behalf.

Arnold Varnell English

Legendary Bluegrass Fiddler & Bandleader

As read by Shawn Pitts, Arts in McNairy FounderJune 13, 2014​

Arnold Varnell English was born and raised in Mud Creek, Tennessee a small community located on highway 22 about midway between Milledgeville and Adamsville. From his earliest days, it was evident that Arnold was destined to become a musician. As a small child he began sneaking his grandfather’s fiddle out of its case under the bed to try his hand at it. Recognizing his persistence and aptitude for it, Arnold’s grandfather finally came to the conclusion that if he was going to do it, he might as well do it right and began to tutor the budding talent in some old time fiddle tunes. It was the only musical training Arnold English ever had, but it was more than enough. Something of a child prodigy, Arnold became a regular on the home musical and local square dance circuit when he was barely more than knee high, standing tall on a straight chair to play tunes for eager audiences and dancers. His mother always recalled that while the other boys were out playing baseball, Arnold could be found learning a new fiddle tune or just brushing up on an old one. The family’s instincts about his talent had been right. Though he could play almost anything with a string on it, the fiddle spoke to him and it was his primary instrument for the rest of his life.

Like many area musicians Arnold’s earliest musical experiences revolved around family. In addition to his grandfather’s influence, cousin George English was another well respected Mud Creek fiddler and of course, Arnold’s younger brother Arlis (known as Bo to most of us) and Neal would later join the fun. It was in this fertile ground of family and community music collaboration that Arnold English would hone the skills for which he is being recognized this evening. The English house was always filled with music hosting home musicals and informal jam sessions, between the brother of course, but also welcoming area musicians who could share their skills with the budding young players in the English household. Among those who frequented Mud Creek was a blind fiddler by the name of Elvis Black. Arnold could not get enough. This kind of intimate musical mentorship between the older, more seasoned, Black and the up and coming young fiddler represents one of the most important ways local music tradition is transmitted from one generation to the next. Arnold always acknowledged the profound influence Black had on his music and it fitting that we honor them on the same occasion. I think both of them would have been thrilled.

Late in World War II Arnold was drafted into the Army and spent time in Germany and occupied Austria. Retuning home, he was surprised to find that the home musicals and square dances he recalled so fondly from his youth had all but died out during the war years. But Arnold went to work at Brown Shoe Company in Selmer where he soon made an important connection. Coworker and fellow fiddler, Stanton Littlejohn was well connected to the local music scene and shared English’s concern for reviving interest in it. Arnold quickly became a favorite recording subject for Mr. Littlejohn and the two formed a fast friendship. Littlejohn’s recordings show the evolution of English’s style over a ten year span and from what remains of those sessions it’s not hard to understand why he was regarded as one of the hottest local fiddle players of the post war era. It is important to note that just as Littlejohn is responsible for preserving sound recordings from the period, English is often credited with reviving local interest in the musicals and community dances. He was beginning to attract some of the area’s best musicians to form what would eventually become the Dixie Hayriders and people turned out to hear them in droves. In addition to his brothers Bo and Neal, the Hayriders lineup included Obie Vanderford, Rob Richard, Eunice Smith, Kittle Sanders, Autry Carroll, Bernard Moore, Bill Cutshall, Peck Boggs and several other renowned players. But it was never in doubt that Arnold was the star attraction. The various incarnations of the Hayriders anchored the American Legion dances at Corinth for many years and began to attract the attention of radio promoters. As their popularity grew, it was not uncommon for the Hayriders to play their regular engagement at Corinth, make two or three other shows in the area, and put in a radio appearance in Jackson, all in one week. The demand for his music says something about Arnold’s abilities, showmanship, and work ethic. Though he was never formally trained he displayed all of the discipline and commitment of a professional musician and many have wondered, over the years, just how far he might have gone had his career not been cut short.

When Arnold and the Dixie Hayriders played the radio shows in Jackson, a young guitarist used to hang around and listen. Not only was he a fan of the Hayriders, he sat in with them a time or two when their paths crossed but his music was moving in a different direction that didn’t quite mesh with Arnold’s more traditional sound. He was trying to get his own radio show and attract the attention of a record label. Arnold suggested he might go down to McNairy County and cut a demo record or two at Stanton Littlejohn’s place which he did. That young guitarist turned out to be none other than Carl Perkins. Similarly, Arnold’s talent and interests in all kinds of music brought him into contact with other industry greats such as Elvis Presley, Lester Flatt, Red Taylor, and Slim Rhodes.

There is a great personal story provided by the English family about the day Arnold’s son, Harold was born. Arnold was playing a radio show in Jackson that day and—proud father that he was—wanted to dedicate a song to his son. What could be sweeter right? But the song he chose to play on that occasion was the old time fiddle standard “Up Jumped the Devil.” Mrs. English didn’t think that was too funny. When she later questioned Arnold about the appropriateness of the choice, like a true musicians, he hadn’t even made the connection in his mind, he simply picked one of his favorite fiddle tunes to honor his new baby boy. It is good one too. There’s a great Father’s Day weekend story for you.

Arnold was prematurely and tragically taken from us in a 1964 plane crash near Savannah, TN. He was only 37 years old. This October will mark the 50th anniversary of his passing. It is a testament to his musical genius that all these years later people still list him among the greatest fiddle player this county has ever produced. Given the wealth of talent that preceded him and all the fine musicians who have come along since, that is truly saying something. Arnold English is rightly remembered as a musicians musician and a gifted entertainer but more importantly as a beloved brother, husband, father and friend. He set the musical bar high for all those who would follow and like his mentor and friend Elvis Black, Arnold’s spirit and influence continues inform contemporary local music till this very day.

It is my distinct honor and privilege to induct Arnold Varnell English into the McNairy County Music Hall of Fame in the class of 2014.